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Daft Punk - Alive 2007 (12 tracks) +Album Reviews swapacd.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from swapacd.com Daily Mail and Mail on Sunday newspapers.
By George Pickthorn
‘Epilogue’ is the name of the video that Daft Punk released on February 22nd to mark their disbandment. The video uses footage from their film
Electroma accompanied by ‘Touch’
, a track from their final album: Random Access Memories. There is no fanfare or grand farewell, only a wistful sunset as the robots conclude their work and part from each other.
It makes sense that Daft Punk would communicate their disbandment with a video. The band always used unusual and memorable visuals to elevate their music. Even in 1997 when the young Thomas Bangalter and Gay-Manuel de Homem-Christo released their first album
Ryan Ninesling
, February 24th, 2021 09:39
Daft Punk announced their split with an eight-minute video taken from the end of their avant-garde film Electroma which offers the key to understanding their whole oeuvre, finds Ryan Ninesling
Earlier this week, French house pioneers Daft Punk bid adieu to the world after 28 years atop the throne of international dance music. By the time their reign had ended, Thomas Bangalter and Guy-Manuel de Homem-Christo became household names both in and outside the electronic music scene, setting themselves apart with a pair of instantly iconic robotic suits and a seemingly boundless appetite for pushing their beats into previously unexplored territory. After nearly three decades of grooving through nearly every genre and form imaginable, it would have made perfect sense for the duo to go out on a note as joyful and celebratory as their own music. Instead, they said farewell with a somber eight-minute clip from a relatively little-seen silent film t
Daft Punk is still playing at my house: how the French duo redefined experience Random Access Memories of the French electronic music visionaries and the way they created a unique narrative.
by Jonathan Emmins
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